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1
Lagan, Charles J. ""Rest and unrest": some rural and romantic themes in the poetry of Edward Thomas." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1004770.
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From Preface: The scope and focus of this thesis has been determined by the fact that I have tried to present a thematic, though not exhaustive, account of the poetry of Edward Thomas. (I have analysed a representative selection of the poems.) Much has been written on his life and poetry in this past decade to coincide with the centenary of his birth which was celebrated in 1978. Edna Longley, William Cooke and more recently, Andrew Motion have thrown much light on his poetry and I am indebted to them. I acknowledge especially the work of Edna Longley; her Edward Thomas: Poems and Last Poems, though it does not include all the poems, has proved to be an invaluable source because of the many extracts from Thomas's prose incorporated into her notes on his poems. Her book is also rich in suggestive insights into Thomas's poetry. Unfortunately not all of Thomas's works are available in South Africa. On a brief visit overseas I tried without success to obtain the more important books not available here. I have had to make use of anthologies of Thomas's prose where a particular text was not available, for example, In Pursuit of Spring and The South Country. I thank Ms Yolisa Soul who through the Inter Library Loan services of the University of Fort Hare managed to obtain for me a substantial number of Thomas's prose works.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.
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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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Smith, Laurel A. "A genre revised in the epic poetry of H.D. and Gwendolyn Brooks." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/776700.
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In the canon of twentieth century American poetry, "long poems" or "anti-epics" or epic poems represent a formidable genre. Defining epic poetry has proved difficult in our modern era, and the possibility that women might write epics is not often considered. This study includes a review of the literature that may define the epic genre and of the literature that contributes to our understanding of a tradition of women's poetry in American literature. The review of both issues--possible epic poetry and women's poetic tradition--is a necessary prerequisite for considering the argument that H.D.'s iielen in Eavpt and Gwendolyn Brooks's In the Mecca are twentieth century epics. With the focus on a female heroine, on personal and interpersonal values, and on a reconsideration of cultural lieroism, these poems are important literary contributions in addition to being "revised" epics.A revision of the epic signifies that the poet has found a way to accomplish individual expression in this familiar genre, a genre characterized by narration, cultural themes that may be didactic, and multiple voices for the poet. H.D. and Brooks have revised the genre of epic poetry in unusual ways. H.D. has taken a legendary figure, Helen of Troy, and made her the primary speaker and the seeker of truth. Instead of the classical glorification of war, Helen's quest includes a renunciation of war and a reconsideration of the ways we know ourselves and our history. Brooks has made an "unknown" black woman the center of her urban epic. Mrs. Sallie's quest, initiated by the real search for a missing daughter, becomes a quest for the meaning of family, community, and selfhood.Revising the genre was a unique process for both H.D. and Brooks, and studying Helen and Mecca together emphasizes the diverse traditions--literary and nonliterary--that may elucidate our understanding of each poem. Moreover, only refers to a "a genre revised" by H.D. and Brooks not only refers to a revision of epic poetry but to poetry as a whole. Each woman created her own blend of "traditions and individual talent" in order to produce Helen in Egypt and In the Mecca.Department of English
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Marion, Carol A. v. "Distorted Traditions: the Use of the Grotesque in the Short Fiction of Eudora Welty, Carson Mccullers, Flannery O'connor, and Bobbie Ann Mason." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4591/.
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This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Kotze, H. B. (Hendrik Benjamin). "Davidson on metaphor and conceptual schemes." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51670.
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Compilation of two papers, the first of which was accepted for publication in the South African Journal of Philosophy in the second half of 2001.Why metaphors have no meaning : considering metaphoric meaning in Davidson. -- Bare idea of a conceptual scheme : relativism, intercultural communication and Davidson.
Thesis (MA)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: WHY METAPHORS HAVE NO MEANING: CONSIDERING METAPHORIC MEANING IN DAVIDSON Since the publication of Donald Davidson's essay 'What Metaphors Mean' (1984c) - in which he famously asserts that metaphor has no meaning - the views expressed in it have mostly met with criticism: prominently from Mary Hesse and Max Black. This article attempts to explain Davidson's surprise-move regarding metaphor by relating it to elements in the rest of his work in semantics, such as the principle of compositionality, radical interpretation and the principle of charity. I conclude that Davidson's views on metaphor are not only consistent with his semantic theory generally, but that his semantics also depend on these insights. Eventually, the debate regarding Davidson's views on metaphor should be conducted on the level of his views on the nature of semantics, the relationship between language and the world and the possibility of there existing something like conceptual schemes.
ENGLISH ABSTRACT: THE BARE IDEA OF A CONCEPTUAL SCHEME: RELATIVISM, INTERCULTURAL COMMUNICATION AND DAVIDSON Donald Davidson's paper 'On the Very Idea of a Conceptual Scheme' ('OVICS') has become famous for the refutation accomplished in it of conceptual relativism. Via an argument that, essentially, all languages are intertranslatable, Davidson rejects the notion that different conceptual schemes can inhere in the supposed 'un-translatable' languages said to exist by, for instance, Whorf and Kuhn. Critics of Davidson's position have mainly focussed on practical issues, with many holding that his arguments in 'OVICS' ignore the realities of the real intercultural communication situation. In the present paper, I address criticisms of this sort. Davidson's arguments are reconstructed, with attention being paid to their dependence on the idea of practical application in the real intercommunication situation. With the aid of practical examples, the implications of elements of Davidson's philsophy of interpretation for intercultural communication are evaluated. Finally, radical interpretation is presented as a better model for intercultural dialogue than linguistically relativist ones.
AFRIKAANSE OPSOMMING: WHY METAPHORS HAVE NO MEANING: CONSIDERING METAPHORIC MEANING IN DAVIDSON Sedert die publikasie van Donald Davidson se opstel 'What Metaphors Mean' (1984c) - waarin hy die berugte stelling maak dat metafoor geen betekenis het nie - is sy sieninge meestal begroet met kritiek, ook van prominente figure soos Mary Hesse en Max Black. Hierdie artikel poog om 'n verduideliking te vind vir Davidson se verassende skuif aangaande metafoor, deur sy sieninge hieroor te kontekstualiseer teen die agtergrond van elemente uit die res van sy werk in semantiek, soos die beginsel van komposisionaliteit, radikale interpretasie en die beginsel van rasionele akkomodasie ('charity'). Ek kom tot die gevolgtrekking dat Davidson se sieninge aangaande metafoor nie slegs naatloos aansluit by sy algemene sieninge aangaande semantiek nie, maar dat die res van sy semantiese teorie ook afhang van sy sieninge aangaande metafoor. Uiteindelik behoort die debat rakende Davidson se sieninge aangaande metafoor gevoer te word op die vlak van die aard van semantiek, die verhouding tussen taal en die werklikheid en die moontlike bestaan van konseptueie skemas.
AFRIKAANSE OPSOMMING: THE BARE IDEA OF A CONCEPTUAL SCHEME: RELATIVISM, INTERCULTURAL COMMUNICATION AND DAVIDSON Donald Davidson se artikel 'On the Very Idea of a Conceptual Scheme' het beroemdheid verwerf as teenargument vir die idee van konseptuele relativisme. By wyse van 'n argument dat alle tale in beginsel vertaalbaar is, verwerp Davidson die idee dat verskillende konseptueie skemas kan skuilgaan in die veronderstelde 'onvertaalbare' tale waarvan daar sprake is by byvoorbeeld Whorf en Kuhn. Kritici van Davidson se posisie beperk hul hoofsaaklik tot praktiese besware en 'n vername aanklag teen Davidson is dat hy die realiteite misken van werklike interkulturele gesprek. In hierdie artikel spreek ek sodanige kritiek aan. Ek herkonstrueer Davidson se argumente en voer aan dat dit deurgaans afhanklik is van die idee van toepassing in 'n praktiese situasie van interkulturele dialoog. By wyse van praktiese voorbeelde evalueer ek die implikasies van Davidson se filosofie van interpretasie vir interkulturele kommunikasie. Laastens bied ek radikale interpretasie aan as 'n beter model vir interkulturele dialoog as linguisties relativistiese modelle.
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Hise, Patricia Jean Fielder. "Carson McCullers Beyond Southern Boundaries: Diagnosing "An American Malady"." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935671/.
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The loneliness theme of Carson McCullers' fiction falls into three divisions or levels. And because of her focus on the individual, her general theme of loneliness as it results from human isolation is universal. She develops her "broad principal theme" through an examination of human characteristics common to all human beings. In expressing her concept of isolation as a human condition, however, she presents loneliness as she believes it exists in her own culture, and, for this reason, her works present a loneliness that results from American cultural attitudes and is tempered by a Southern sense of nostalgia. After first establishing an understanding of McCullers' basic theme through an analysis of The Heart is a Lonely Hunter, this study analyzes the nature of the Southern tradition and its influence on the criticism of her fiction with particular focus on the problems of determining to what degree her Southern settings inhibit the interpretation of her works beyond a regional perspective. A comparison of thematic elements, events, and characterization in The Heart is a Lonely Hunter to nonfiction critical discussions of American culture in The Image by Daniel Boorstin and The Pursuit of Loneliness by Philip Slater shows that the social context and the theme of isolation in the novel reflect a condition of life that is American, not distinctively Southern. The final portion of this study continues the analysis of McCullers' basic theme in Reflections in a Golden Eye, The Member of the Wedding, The Ballad of the Sad Cafe, and Clock Without Hands, comparing elements of these later works to The Image and The Pursuit of Loneliness in order to demonstrate the particularly American loneliness of her characters and the value of her works to the tradition of American novel.
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Ghazarian, Seta. "Forces within and without: Lily Bart's movement towards epiphany in The House of Mirth." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2003.
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The House of Mirth's main character, Lily Bart, is charaterized a fated character, incapable of exerting free will. With the help of Lawrence Selden and Gerty Farish, she realizes that, for the most part, she has lived and acted according to what others expect of her.
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Rocha, Flávia Alves. "O discurso de intelectuais brasileiros sobre a obra de Cícero Dias." Universidade Católica de Pernambuco, 2009. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=216.
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Empreendemos, neste trabalho, uma análise de seis textos críticos sobre a obra do pintor pernambucano Cícero Dias. À luz do referencial teórico da Análise Crítica do Discurso (ACD), especificamente do modelo tridimensional de análise do discurso proposto por Norman Fairclough (2001), identificamos, nas críticas que compõem o corpus de nosso trabalho, a modalização enunciativa, a intertextualidade, a interdiscursividade e o ethos a fim de verificar que imagens
da obra do pintor são construídas por esses textos. Para empreender essa análise, situamos Cícero Dias no cenário da arte brasileira e fizemos um breve apanhado da sua vida e das fases de sua obra. Além disso, investigamos a natureza e a origem da crítica de arte no Brasil assim como fizemos reflexões acerca do papel social da crítica e do crítico. Nosso estudo levou-nos a concluir que a crítica de arte, na medida em que orienta o olhar do interlocutor, constitui-se em mais um instrumento formador de opinião que tem atribuído aos críticos o poder de dizer e a autorização da sociedade para dizer o que diz.We undertaken in this work, an analysis of six critical texts about the work of the Pernambucano painter Cicero Dias. In the light of the theoretical citation of Critical Discourse Analysis (CDA), specifically of the three-dimensional model analysis of proposed speech by Norman Fairclough (2001),we identified in the critiques that make up the corpus of our work, the enunciated modality, the intertextuality, the interdiscursivity and the ethos in order to check that images of the painters work are built by these texts. To undertake this analysis, we placed Cicero Dias in the scenery of the Brazilian art and we made a brief gathering of his life and the phases of his work. Furthermore, we examined the nature and origin of the critique of art in Brazil in the same way that we made reflections about the social role of critique and the critical. Our study induced us to infer that the critique of art, while guides the look of the interlocutor, constitutes itself in more one implement formative of opinion Who has imputed to the critical the Power to say and He approval of the society to say what He says.
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Bird, Lori. "Beauty in Bronzeville." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/BirdL2004.pdf.
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Gomes, Maria José Pereira. "Língua, sujeito e enunciação em "Memorial de Maria Moura": deslizamentos metonímicos e metafóricos." Universidade Católica de Pernambuco, 2009. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=321.
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A presente dissertação tem um objeto de estudo situado entre três áreas do saber. Desse modo, traz como objetivo geral, investigar a relação da língua, do sujeito e da enunciação em Memorial de Maria Moura. E como objetivos
específicos: a) compreender a concepção de língua presente na obra, articulando-a a noção de alíngua; b) analisar os deslizes dos nomes através dos eixos metonímico e metafórico; c) estudar o sujeito do inconsciente,
articulando-o ao movimento da língua/alingua para a composição do romance. Para tanto, foi desenvolvida uma pesquisa teórico-empírica qualitativa, cujos procedimentos metodológicos adotados consistiram em trazer categorias de
análise advindas das teorias de Saussure, Benveniste, Jakobson, Lacan-Freud, bem como os trabalhos de Milner (1987), Authier-Revuz (1998-2004), dentre outros. Tendo em vista que, sobre a linguagem, poderia se pensar que os
linguistas procuram dar conta do funcionamento da linguagem dita corrente, no entanto, quanto ao funcionamento da linguagem poética, esse é visto pelo viés do desvio, dos deslizes, sendo, portanto, concebida como uma manifestação
da prática linguística. Assim, seria a própria criação literária, enquanto manifestação de uma vivência da língua, uma contribuição importante para uma teoria da linguagem. No que concerne a relação entre a linguística e a psicanálise, segundo Flores (2002), dá-se por uma articulação sem muitos
problemas, visto que, o interesse desta pela linguagem está posto desde os primeiros textos de Freud. É assim, uma relação que se estabelece pelo estudo do sujeito e do sentido, para tanto, lembramos Milner (1987), em O amor da
língua, trazendo determinadas questões linguísticas, impossíveis de serem descritas sem que para isso, haja a intervenção do sujeito o sujeito lacaniano. Lidar com as questões da língua, do sujeito e da enunciação, num
entrecruzamento de saberes distintos: a linguística, a literatura e a psicanálise lacaniana, encontrando nelas, pontos de ancoragem comuns, e até divergências, no trato do fenômeno abordado, no caso a constituição do sujeito
do inconsciente enquanto sujeito da enunciação. Não obstante, a interlocução entre a linguística e outros campos do saber tem sido um tema polêmico, é oportuno observar que, iniciar uma investigação que associe os estudos
linguísticos à análise literária durante muito tempo representou uma tarefa de risco, pois conforme Maingueneau (1996, p. 1), as relações entre Linguística e a Análise da Literatura não estão nem um pouco claras, sobremaneira,
separadas por um fosso. De certo, a relação entre Linguística e Literatura costuma ser vista como sendo unilateral, ou seja, o que é visado é a contribuição da ciência da linguagem para a compreensão do texto literárioThis dissertation is an object of study between three areas of knowledge. Thus, the goal has generally, to investigate the relationship of language, and the subject of enunciation in Memorial of Maria Moura. And as specific objectives: a) understand the concept of language in this work, linking it to the notion of alíngua b) examine the slide of the names of the axes through metaphorical metonymy and c) studying the subject of the unconscious, linking it to movement of the tongue / alingua for the composition of the novel. Thus was developed a theoretical and empirical qualitative research, the methodological procedures adopted consisted in bringing categories of analysis derived from theories of Saussure, Benveniste, Jakobson, Lacan, Freud, and the work of Milner (1987), Authier-Revuz ( 1998-2004), among others. Considering that, on language, might be thought that linguists seek to convey the current functioning of language itself, however, regarding the functioning of poetic language, this bias is seen by the deviation of the slide and therefore conceived as a manifestation of linguistic practice. It would be his own literary creation, as expressions of an experience of language, an important contribution to a theory of language. With regard to the relationship between language and psychoanalysis, according to Flores (2002), there is a link without many problems, since the interest of the language is made since the first texts of Freud. Thus, a relationship that is established by the study of the subject and the sense to do so, remember Milner (1987), in the love of language, bringing some language issues, impossible to be described without having to do that, there is the intervention of the subject - the Lacanian subject. Dealing with issues of language, and the subject of enunciation, in a separate crossover of knowledge: the language, literature, and Lacanian psychoanalysis, finding them, anchor points in common, and even differences in the treatment of the phenomenon addressed, if the constitution the subject of the unconscious as a subject of enunciation. However, the interaction between linguistic and other fields of knowledge has been a controversial topic, it should be noted that, starting a research study involving the analysis of literary language long represented a task of risk, because as Maingueneau (1996, p. 1), the relationship between language and Analysis of Literature are not a clear, above all, separated by a gap. To some, the relationship between linguistics and literature is usually seen as unilateral, that is what is sought is the contribution of the science of language to understand the literary text
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Marabesi, Caio Maringoli 1986. ""Por cima do cotidiano estéril e inútil" : imaginação e realidade, teatro e mundo na poesia de Waly Salomão." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270081.
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Orientador: Maria Betânia AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O trabalho tenta a realização de uma leitura interpretativa da trajetória artística de Waly Salomão a partir do acompanhamento das tensões que elencou como sendo entre realidade e imaginação, o trabalho da escrita e experiência. O objetivo central é levantar algumas questões que caracterizem como o autor articula a relação arte e vida, entendendo sua obra como convergência de discussões relevantes para arte no Brasil desde os anos 70. A primeira parte é dedicada à análise e discussão de seu primeiro livro, Me segura qu'eu vou dar um troço (1972), com o cenário cultural e artístico do país contemporâneo. Neste momento o diálogo com Hélio Oiticica será determinante. A segunda parte tenta encontrar e analisar desdobramentos dessas questões em suas publicações dos anos 1990 e 2000
Abstract: The work tries to carry out an interpretative reading of the artistic trajectory of Waly from the monitoring of the tensions that listed out as being between reality and imagination, the work of writing and experience. The main objective is to raise some issues that characterize how the author articulates the relationship between art and life, understanding his work as convergence discussions relevant to art in Brazil since the 70s. The first part is devoted to analysis and discussion of his first book, I'll give you a safe qu'eu section (1972), with the arts scene of contemporary country. At this point the dialogue with Hélio Oiticica be decisive. The second part tries to find and analyze developments of these issues in their publications of the 1990s and 2000s
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Gomes, Maria José Pereira. "Língua, sujeito e enunciação em "Memorial de Maria Moura": deslizamentos metonímicos e metafóricos." Universidade Católica de Pernambuco, 2008. http://tede2.unicap.br:8080/handle/tede/109.
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Previous issue date: 2008-05-05This dissertation is an object of study between three areas of knowledge. Thus, the goal has generally, to investigate the relationship of language, and the subject of enunciation in Memorial of Maria Moura. And as specific objectives: a) understand the concept of language in this work, linking it to the notion of alíngua b) examine the slide of the names of the axes through metaphorical metonymy and c) studying the subject of the unconscious, linking it to movement of the tongue / alingua for the composition of the novel. Thus was developed a theoretical and empirical qualitative research, the methodological procedures adopted consisted in bringing categories of analysis derived from theories of Saussure, Benveniste, Jakobson, Lacan, Freud, and the work of Milner (1987), Authier-Revuz ( 1998-2004), among others. Considering that, on language, might be thought that linguists seek to convey the current functioning of language itself, however, regarding the functioning of poetic language, this bias is seen by the deviation of the slide and therefore conceived as a manifestation of linguistic practice. It would be his own literary creation, as expressions of an experience of language, an important contribution to a theory of language. With regard to the relationship between language and psychoanalysis, according to Flores (2002), there is a link without many problems, since the interest of the language is made since the first texts of Freud. Thus, a relationship that is established by the study of the subject and the sense to do so, remember Milner (1987), in the love of language, bringing some language issues, impossible to be described without having to do that, there is the intervention of the subject - the Lacanian subject. Dealing with issues of language, and the subject of enunciation, in a separate crossover of knowledge: the language, literature, and Lacanian psychoanalysis, finding them, anchor points in common, and even differences in the treatment of the phenomenon addressed, if the constitution the subject of the unconscious as a subject of enunciation. However, the interaction between linguistic and other fields of knowledge has been a controversial topic, it should be noted that, starting a research study involving the analysis of literary language long represented a task of risk, because as Maingueneau (1996, p. 1), the relationship between language and Analysis of Literature are not a clear, above all, separated by a gap. To some, the relationship between linguistics and literature is usually seen as unilateral, that is what is sought is the contribution of the science of language to understand the literary text
A presente dissertação tem um objeto de estudo situado entre três áreas do saber. Desse modo, traz como objetivo geral, investigar a relação da língua, do sujeito e da enunciação em Memorial de Maria Moura. E como objetivos específicos: a) compreender a concepção de língua presente na obra, articulando-a a noção de alíngua; b) analisar os deslizes dos nomes através dos eixos metonímico e metafórico; c) estudar o sujeito do inconsciente, articulando-o ao movimento da língua/alingua para a composição do romance. Para tanto, foi desenvolvida uma pesquisa teórico-empírica qualitativa, cujos procedimentos metodológicos adotados consistiram em trazer categorias de análise advindas das teorias de Saussure, Benveniste, Jakobson, Lacan-Freud, bem como os trabalhos de Milner (1987), Authier-Revuz (1998-2004), dentre outros. Tendo em vista que, sobre a linguagem, poderia se pensar que os linguistas procuram dar conta do funcionamento da linguagem dita corrente, no entanto, quanto ao funcionamento da linguagem poética, esse é visto pelo viés do desvio, dos deslizes, sendo, portanto, concebida como uma manifestação da prática linguística. Assim, seria a própria criação literária, enquanto manifestação de uma vivência da língua, uma contribuição importante para uma teoria da linguagem. No que concerne a relação entre a linguística e a psicanálise, segundo Flores (2002), dá-se por uma articulação sem muitos problemas, visto que, o interesse desta pela linguagem está posto desde os primeiros textos de Freud. É assim, uma relação que se estabelece pelo estudo do sujeito e do sentido, para tanto, lembramos Milner (1987), em O amor da língua, trazendo determinadas questões linguísticas, impossíveis de serem descritas sem que para isso, haja a intervenção do sujeito o sujeito lacaniano. Lidar com as questões da língua, do sujeito e da enunciação, num entrecruzamento de saberes distintos: a linguística, a literatura e a psicanálise lacaniana, encontrando nelas, pontos de ancoragem comuns, e até divergências, no trato do fenômeno abordado, no caso a constituição do sujeito do inconsciente enquanto sujeito da enunciação. Não obstante, a interlocução entre a linguística e outros campos do saber tem sido um tema polêmico, é oportuno observar que, iniciar uma investigação que associe os estudos linguísticos à análise literária durante muito tempo representou uma tarefa de risco, pois conforme Maingueneau (1996, p. 1), as relações entre Linguística e a Análise da Literatura não estão nem um pouco claras, sobremaneira, separadas por um fosso . De certo, a relação entre Linguística e Literatura costuma ser vista como sendo unilateral, ou seja, o que é visado é a contribuição da ciência da linguagem para a compreensão do texto literário
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Vassileva, Veronika. "A comparison of Petar Christoskov’s Op. 1 and Op. 24 Caprices for Solo Violin: The effect of the changing Bulgarian political climate on his compositional style." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849741/.
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Bulgaria, though a fairly small Eastern European country, boasts an ancient history of folk traditions and music; however, very few notated works exist due to the people's primitive lifestyle throughout Bulgaria's history. Singing and dancing as well as creating instruments from wood and animal skin were considered an integral part of everyday life, equal to cooking, sewing, herding, or farming; in fact, one almost always accompanied the other. Thus, more than 1500 years of folklore was orally passed on and preserved generation after generation; however, nothing was notated until only very recently when Bulgarians realized the cultural and national value of their history. After the liberation from Ottoman Rule (1453-1877) a nationalist movement spread throughout the Balkan countries, which resulted in the emergence of Bulgarian composers. Music and songs from the local folk traditions evolved, developed, and - with notation - became the foundation for the vocal and instrumental music of the so-called first generation of Bulgarian composers. Around the turn of the century, many Bulgarian artists and musicians traveled to Western Europe (mostly Austria, Germany, and Russia) and upon their return, their artistic output created an original mixture of Bulgarian national folk with influences from Western classical music. After World War II, Bulgaria became one of the countries governed by the Communist regime, which restricted all travel to and contact with the West, including cultural influences from the West. Gradually, as the Communist regime became less controlling until it dissolved completely in 1989, restrictions on music and culture started to lift.
Petar Christoskov (1917-2006), considered part of the second generation of Bulgarian composers, began his compositional career immediately after returning from Germany to a communist-ruled Bulgaria. His first opus was the set of 12 Caprices for Solo Violin (1953, formerly known as Concert Etudes in Folk Style); they have a fairly simple compositional style but are full of elements from the Bulgarian folk tradition. Some of these caprices, along with other works from the beginning of Christoskov's compositional career, were commissioned by the nationalist government and/or were required repertoire at national music competitions. Nearly thirty years after the first set of caprices, Christoskov composed another set: 24 Caprices for Solo Violin, Op. 24 (1978-9). These later works also contain many Bulgarian folk characteristics, but their compositional style is much more abstract, atonal, and complex - more “mainstream Western.”
The goal of this document is to compare and contrast the two sets of Caprices for Solo Violin, Op. 1 and Op. 24, by investigating the development of Petar Christoskov's compositional style. I will argue that the constantly-changing political systems in twentieth-century Bulgaria had a direct impact on the composer's artistic output. After a historical overview of Bulgaria's music and political background, the two sets of caprices will be compared and contrasted by focusing on technical, musical, and sociological similarities and differences. In order to illustrate these similarities and differences, three caprices from each set will be selected and analyzed, as well as compared and contrasted with each other. The second part of the document will discuss the negative influence of the political climate on music and printing, with a focus on the difficulties of preserving Bulgarian culture itself.
This research has the additional purpose of serving as scholarly support for a future project: as a personal contribution to the circulation and preservation of Bulgarian music, I intend to produce a new violin edition of Petar Christoskov's caprices as well as complete the arrangements for viola.
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譚碧娜. "施蟄存詞學業績研究 = A study of the accomplishment in Ci of Shi Zhe Cun." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2143955.
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Lincoln, Lawrence Ronald. "A socio-historical analysis of Jewish banditry in first century Palestine 6 to 70 CE." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2695.
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Thesis (MPhil (Dept. of Ancient Studies) -- University of Stellenbosch, 2005.This thesis sets out to examine, as far as possible within the constraints of a limited study such as this, the nature of the Jewish protest movement against the occupation of their homeland by the Roman Empire in the years after the territory had become a direct province of the Empire. These protests were mainly instigated by and initially led by Jewish peasants who experienced the worst aspects of becoming a part of the larger Roman world.
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Simes, Peter A. "Literature in the Age of Science: Technology and Scientists in the Mid-Twentieth Century Works of Isaac Asimov, John Barth, Arthur C. Clarke, Thomas Pynchon, and Kurt Vonnegut." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30511/.
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This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.
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Lasserre, Audrey. "Histoire d’une littérature en mouvement : textes, écrivaines et collectifs éditoriaux du Mouvement de libération des femmes en France (1970-1981)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030139/document.
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Le Mouvement de libération des femmes en France ne fut pas seulement un mouvement politique et social, ce fut également l’une des dernières, si ce n’est la dernière, avant-garde littéraire que la France a connue. Du point de vue international, l’activité des littératrices au sein du Mouvement constitue un des principes distinctifs de la lutte des femmes en France. Les manifestantes qui déposent publiquement une gerbe de fleurs à la femme plus inconnue encore que le soldat inconnu sous l’Arc de Triomphe le 26 août 1970, sont déjà pour certaines – appelées à le devenir pour d’autres – des écrivaines. Dix ans plus tard, le MLF, depuis peu marque déposée à l’Institut national de la propriété industrielle, appartient à une éditrice, Antoinette Fouque, promotrice d’une écriture dite féminine. Dans l’espace circonscrit par ces deux points fixes, paraît un ensemble de textes qui s’inscrivent au sein de deux tendances majoritaires – mais antagonistes – du Mouvement, le féminisme d’une part et la néo-féminité, ou éloge de la différence, d’autre part. En miroir, un double rhizome éditorial se développe, partageant maisons d’édition et revues en deux factions militantes et littéraires bien distinctes. Pendant dix ans, la littérature se met tout autant au service du Mouvement des femmes que le Mouvement irradie la littérature, chacun-e influençant et informant la pratique et la pensée de l’autre. C’est de cette coïncidence entre littérature et Mouvement de libération des femmes que le présent écrit se propose de rendre compte, afin de retracer un mouvement politique qui fut et se fit littéraire, et, dans le même élan, une littérature qui fut et se fit politique. Par là même, la thèse redouble la question posée par tout un mouvement de femmes à la littérature elle-même, contestant ses définitions premières et repoussant les limites qui lui ont été assignéesThe Women’s Liberation Movement (MLF) was not only a political and social movement, but one of the last, if not the very last, literary avant-garde that France has experienced. From an international perspective, the activity of the literary women within the movement represents one of the fundamental principles of the fight for women’s rights in France. The demonstrators, who publicly placed a bouquet of flowers for the unknown wife of the Unknown Soldier under the Arc de Triomphe on August 26th 1970, are for some, and are soon to become for others, women writers. Ten years later, the MLF, a recently registered trademark with the National Institute for Intellectual Property Rights, belongs to the editor, Antoinette Fouque, promotor of female writing. Within the space determined by these two fixed points, there exists a collection of texts that adhere to two major trends – although antagonistic – of the movement, Feminism on one hand and Neofeminity, or the praise for “difference”, on the other hand. Mirroring each other, a dual editorial form develops, sharing publishers and scholarly journals, into two distinct literary and militant factions. For ten years, literature served the purpose of the Women’s Liberation Movement as much as the latter promoted literature, each influencing and informing the other by practice and thought. It is precisely this coexistence between literature and the Women’s Liberation Movement that the present dissertation proposes to examine, in order to trace the political movement that was and made itself literary, and, by the same token, a literature that was and made itself political. At the same time, the dissertation continues the question asked of literature by an entire women’s movement, challenging its assigned definitions and pushing back its boundaries
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Avery, Karen Rose. "The elusive self : storytelling and the journey to identity in Sveva Caetani's autobiographical series "Recapitulation"." 2005. http://hdl.handle.net/1828/798.
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Canadian artist Sveva Caetani was born in Rome in 191 7 and emigrated to Canada in
192 1 with her parents, Leone Caetani and Ofelia Fabiani. The family settled in Vernon,
B.C. where Caetani was to remain until her death in 1994. Between the years of 1975
and 1992, Caetani produced a series of 56 watercolour paintings entitled Recapitulation
that recounts the story of her life. Drawing on Dante's Divine Comedy as a model for
the overarching format of the series, Caetani adopts the role of a pilgrim on a spiritual
journey. Just as Dante called on Virgil to act as his guide, Caetani calls on her father to
accompany her on her personal journey. By establishing a voice that bears witness to the
tragic circumstances of her life, Sveva Caetani reconnects with her past in order to alter
the shape of memory. The evidence Caetani offers is her own life and the country of her
imagination; the extraordinary life of a woman and the separate life as a writerlartist.
She draws us into personal memory and family history, weaving autobiography into
analysis.
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Fisher, Cozza Robin Lee 1960. "The writings and art songs of John Duke : 1917-1945." 2001. http://hdl.handle.net/2152/10312.
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Hare, Belva Jean. "The uses and aesthetics of musical borrowing in Erik Satie's humoristic piano suites, 1913-1917." Thesis, 2005. http://hdl.handle.net/2152/2441.
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Winters, Yvonne. "Indigenous aesthetics and narratives in the works of Black South African artists in local art museums." Thesis, 2009. http://hdl.handle.net/10413/618.
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This dissertation is an amalgam of reformulated essays on artists who had connections with 20-21st century KwaZulu-Natal: They appeared in exhibition catalogues that accompanied the exhibitions; The Azaria Mbatha Retrospective, 1998, The Trevor Makhoba Memorial, 2005 and Cyprian Mpho Shilakoe Revisited, 2006. Chapter 1, the introduction; outlines the chapters, gives the theoretical and broader theoretical framework, history of the region and art therein, literature survey and methodology. Central to the theoretical framework is an attempt to meld the original essays into a coherent whole; by expanding the interpretation of indigenous cultural world-view to include the concept of orality versus literate cultures. Even in the transformation to literacy with westernization and Christianity the African oral mind-set is still operative; thus for instance the early Zulu writers like R.R.R. Dhlomo rendered the Zulu kings‘ oral praise-poems into written form and these became set-works for Zulu schools up until the 1994 new dispensation. Also dealt with are related issues of what therefore constitutes 'Africanness‘ and debates whether it is but the invention of the west in need of the 'Other‘ (something arguably pertinent to the art-collector‘s reasons for collecting), or if there is that own to the African style, like the oral style, which can be termed a 'legitimate Africanness‘ if one will. Further, how this style then exhibits itself in the visual arts as a 'preferred form‘ in terms of medium, colour, patterning and favored technique which best conspire to express these qualities. Chapter 2 (essay 1) and chapter 3 (essay 2), carry forward the assumptions made in the introduction. In modern times the oral genre has developed into an exciting style; namely the development of urban, often migrant musical forms, like isicathimiya, that challenge politics, social-wrongs, racism and taboos. It is argued that an artist like Trevor Makhoba can be considered a social commentator and 'master of the oral genre‘ in that he rendered this style into visual form. Certain of Makhoba‘s works depicting white females and black males are analyzed in this light and it is suggested that the oral genre also draws upon both stereotypical and universal archetypal imagery. Chapter 3 (essay 2) considers Azaria Mbatha‘s use of the older oral story-telling mode, rendered in linocut medium as an echo of earlier indigenous wooden 'pokerwork‘ panels, to transmit a political message in line with concepts of African Christianity, itself a syncretism of the Christian message with African world-view. This allegory was needed in a time where the Nationalist Government would have made open insurrection impossible. Chapter 4 (essay 3) concerns ex-Rorke‘s Drift art-student Cyprian Shilakoe. I analyze his aquatints in the light of his own Sotho cultural ideas on contagion and the ancestors for deeper meaning. The fact of culture change is accepted and mention is made of the artist‘s friend and fellow student, Dan Rakgoathe‘s melding of western esoteric mysticism, like Rosicrucianism, into African thinking and how far this impacted on the more traditional Shilakoe‘s works. The essays are followed by Chapter 5, the conclusion, which serves to come to some resolution. This is then followed by the bibliography.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.
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Robson, Julie-Ann. "Beneath the socratic cloak : Oscar Wilde and the art of criticism." Phd thesis, 2003. http://hdl.handle.net/1885/148762.
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Nandan, Jyoti. "The fiction of Anita Desai : challenging the cultural construction of femininity." Phd thesis, 2003. http://hdl.handle.net/1885/148775.
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Bassett, Louise. "Paradoxe assurement : Michele Le Doeuff's philosophical imaginary." Phd thesis, 2003. http://hdl.handle.net/1885/150206.
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Rossmann, Jean. "A study of intertextuality, intimacy and place in Barbara Adair's In Tangier we killed the blue parrot." Thesis, 2005. http://hdl.handle.net/10413/1286.
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In my thesis, I argue that Barbara Adair's In Tangier We Killed the Blue Parrot can be viewed as a palimpsest. In this sense her re-inscription of the lives and fictions of lane and Paul Bowles in the International Zone of Tangier, Morocco, in the 1940s reflects on and is implicated in the contemporary South African Zeitgeist. Through illuminating the spatial and temporal connections between the literary text and the social text, I suggest that Adair's novel creates a space for the expression of new patterns of intimacy. The Bowleses' open marriage and their same-sex relationships with local Moroccans are complicated by hegemonies of race, class and gender. To illustrate the nature of these vexed intimacies I explore Paul's sadomasochistic relationship with the young hustler, Belquassim, revealing the emancipatory nature of the expatriate's erotic and violent encounter with the Other. Conversely, I suggest the shades of Orientalism and exoticism in this relationship. While Adair is innovative in her representation of the male characters, I argue that she perpetuates racial and gendered stereotypes in her representation of the female characters in the novel. lane is re-inscribed in myths of madness and selfdestruction, while her lover, Cherifa, vilified and unknowable, is depicted as a wicked witch. This study interrogates the process of selection and representation chosen by Adair, which proceeds from her own intentionality and positionality, as a South African, as a human rights law lecturer, as a (white) woman and as a woman writer. These explorations reveal the liberatory re-imagining of new patterns of intimacy, as well as the limitations of being bound by the implicit racial and gendered divisions of contemporary South African society.http://hdl.handle.net/10413/1286
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
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Christensen, Cheryl Ann. "Music and text interpretation, melodic motive, and the narrative path in Edvard Grieg's Haugtussa, Op. 67 /." Thesis, 2003. http://www.lib.utexas.edu/etd/d/2003/christensenca036/christensenca036.pdf#page=3.
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"1950年代唐滌生粤劇創作研究." Thesis, 2008. http://library.cuhk.edu.hk/record=b6074470.
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Having written over 449 pieces of Cantonese opera works, Tang Di-sheng (1917-1959) is considered to be one of the most outstanding and influential librettists and playwrights of Hong Kong Cantonese opera in the 1950s. His Cantonese operas such as Liu Yue Xue (Snow in June; 1956), Di Nu Hua (The Floral Princess; 1957) and Zi Chai Ji (The Purple Hairpin; 1957), Shuang Xian Bai Yue Ting (Two Immortals at the Pavilion of the Moon; 1958), Bai Tao Hui (Madam Lee Sam Neung; 1958), and Zai Shi Hong Mel Ji (The Reincarnation of Plum Blossom; 1959) are well known to be Tang's masterpieces.In chapters three and four, the study applies the Merriam's model "concept", "behavior" and "music sound". First, the thesis examines the classical plays, the historical story, pre-existed Cantonese opera and other plays and discusses these "concepts" in relation to Tang's creation. His "behavior", behavior of performers, musicians, audiences and listeners constitutes in the stage performances, the movies and the recordings became the "music sound" of the works of Tang. Finally, it also attempts to understand the works of Tang against the social and cultural background in Hong Kong. The analysis of the selected works shows that Tang attempted to change the creative idea of the works, performing practice, the female role in the 1950s, and how Tang cultivated a unique Hong Kong flavor in his own works.
The theoretical framework is based on Merriam's research model, "concept", "behavior", and "music sound" itself, and has referred to Timothy Rice the revision model which developed a three-dimensional model ("historical construction", "social maintenance", and "individual creation and experience") for ethnomusicological research. Chapter two examines "individual creation and experience", which discusses the biography and the works of Tang Di-sheng, analyses his creativity and experience. Moreover, it is a macroscopic research to correlations in the Hong Kong society and Cantonese Opera. For "historical construction", this chapter studies the social background of Hong Kong's historical development, the development and changes of the social cultural contexts of Hong Kong society and a how did Tang receive "social maintenance" from 1950 to 1959.
戴淑茵.
Adviser: Chan Sau Yan.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2942.
Submitted: November 2007.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 373-399).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Dai Shuyin.
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Reimchen, Margaret Helen. "Heinrich Boll's early prose : a discourse of war-damaged bodies." Thesis, 2000. http://hdl.handle.net/2429/10848.
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Using insights drawn from research in a variety of disciplines into theories of the body,
this dissertation investigates Heinrich Boll's (1917-1985) early prose (1936-1955) as a discourse
of war damaged bodies. The "new" texts discussed appeared in Germany between 1982 and
1995. The thesis represents the first attempt to analyse Boll's work from the perspective of the
human body.
Chapter I briefly outlines the influence sociology has had for a better understanding of the
role of the human body in society. This chapter demonstrates that the body can be fruitfully used
both as a critical tool and as an interpretative device in discussing literary texts. An elucidation of
the methodology and theoretical approach used concludes the chapter.
The thesis explores Boll's use of the body not only as aspects of the narrative and also for
its ethical implication. According to him, an author's temporality ("Zeitlichkeit") is the first thing
to be communicated before embarking on an analysis or interpretation of his work. Chapter II
investigates the "Aryan/Nazi" body and refers to other contemporary body discourses. Chapter
III, investigating the "Writer's" body, provides insights into Boll's biography. Both chapters
shed considerable light on Germany's cultural, social, internal, and external political situation.
Chapter IV describes the soldier's 'closed,' "disciplined" body as portrayed in texts such
as Das Vermachtnis. Colonel Bressen, a key character in Wo warst du, Adam?, epitomises the
"mirroring" body in Chapter V. More "Schein" than "Sein," it reflects an intentionally
internalised and acquired "habitus." In Chapter VI, Boll's war story "Der blasse Hund," provides
a striking example of a "dominating" body which seeks to preserve its power and to control its
fears through committing violent acts against its helpless victims. In contrast, however, a
"communicative" body such as Kate Bogner's in Und sagte kein einziges Wort, examined in
Chapter VII, is 'open' and caring.
Throughout his early prose, Boll's careful use of body language reveals the multi-layered
nature of reality. Chapter VIII summarises the thesis and presents its major findings upon which
further critical work on the significance of the human body in Boll's later writings might be
based.
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Cottier, Penelope Susan. "The Victorian menagerie : the representation of animals and animal imagery in the works of Charles Dickens." Phd thesis, 2003. http://hdl.handle.net/1885/151764.
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Greenbaum, Jamie. "Ch'en Chi-ju (1558-1639) : the construction and subsequent uses of literary personae." Phd thesis, 2003. http://hdl.handle.net/1885/150502.
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Howes, Hilary Susan. "The race question in Oceania : A. B. Meyer and Otto Finsch between metropolitan theory and field experience, 1865-1914." Phd thesis, 2011. http://hdl.handle.net/1885/151252.
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This thesis examines the written, visual and material records produced by two late nineteenth-century German traveller-naturalists in Oceania, Adolf Bernhard Meyer (1840-1911) and Otto Finsch (1839-1917). I probe these records for traces of Indigenous agency and discuss the impacts of their authors' personal encounters with actual Oceanian people on their understandings of human difference, locating this discussion within the context of racial science in late nineteenth-century Europe and the complex relationship between field experience and metropolitan publication and reception. By identifying countersigns of Indigenous agency embedded in Meyer's and Finsch' s representations of their experiences in Oceania, I trace the ways in which these experiences informed their contributions to broader debates in the European metropoles: the unity or plurality of the human species, the breadth of variation within supposedly homogeneous 'races' and the extent of overlap between them, the importance of field experience in the human sciences, the standardisation and mobilisation of travellers' observations for metropolitan audiences, and the relative worth of physical, cultural and linguistic data for taxonomic purposes.
I interrogate the processes by which racial knowledge about Oceania's inhabitants was produced from the 'raw material' of encounters, the various forms in which this knowledge was embodied - scientific monographs and journal articles, public lectures, sketches, photographs, plaster casts (moulages) of human faces, collections of cranial and skeletal materials -and the extent to which field experience was permitted to confront or contradict metropolitan theories of race. I show that Meyer and Finsch experienced profound transformations in their beliefs about human difference, with respect both to manners and customs and to physical features, as a result of their encounters with actual people in Oceania.
I conclude, however, that their ability to communicate these changes to influential colleagues in the metropole was limited by a rigid professional vocabulary, essentialist tools and technologies, and an epistemologically and ideologically unreceptive audience.
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Moutien, Caitan Shirley. "Tradition et modernitė dans C'est le soleil qui m'a brûlee (1987), Assèze, l'Africaine (1994) et Femme nue, femme noire (2003) de Calixthe Beyala." Diss., 2016. http://hdl.handle.net/10500/22070.
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Text in French; abstract in French and EnglishObservatrice des réalités quotidiennes camerounaises, Calixthe Beyala a publié, en 1987, un roman intitulé C’est le soleil qui m’a brûlée. Dans ce roman, elle montre au lecteur comment la femme, victime de la tradition, utilise, avec l’apport de la modernité, son corps comme moyen pour reconquérir son moi profond, et retrouver sa liberté. En 1994, elle a écrit et publié Assѐze, l’Africaine. Et en 2003, elle a publié Femme nue, femme noire. Après une lecture minutieuse de ces trois livres, le lecteur peut facilement découvrir que Calixthe Beyala place la femme au centre de sa préoccupation littéraire. Et elle examine, dans sa fiction, deux thѐmes: la tradition et la modernité. Qu’entend-elle par tradition et modernité? Comment examine-t-elle ces deux thѐmes dans les ouvrages de notre corpus? Quelles solutions propose-t-elle à la femme, d’une part, pour se libérer du joug de la tradition et de la domination masculine, et d’autre part, pour (re)conquérir son corps, son moi profond et pour son émancipation?
Observer of the daily Cameroonian realities, Calixthe Beyala published, in 1987, a novel entitled C’est le soleil qui m’a brûlée. In this novel, she shows the reader how a woman, victim of tradition, uses her body as means to reconquer herself and to find her freedom. In 1994, she wrote and published Assèze, l’Africane. And in 2003, she published Femme nue, femme noire. After a careful reading of the three novels, the reader can easily discover that Calixthe Beyala places woman in the center of her literary preoccupation. And she examines, in her fiction, two themes, tradition and modernity. What does she mean by tradition and modernity? How does she examine these two themes in the novels of our study? What solutions does she propose to the woman, firstly, to liberate herself from the yoke of tradition and male’s domination, and secondly, to reconquer her body, herself and her emancipation?
Classics and World Languages
M.A. (French)
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"Lou Harrison: experimentalism and "otherness"." 2008. http://library.cuhk.edu.hk/record=b5896759.
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Sung, Kei Yan.Thesis submitted in: December 2007.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 80-86).
Abstracts in English and Chinese.
Introduction --- p.1
Chapter Chapter 1 --- General Background Information
Chapter ´ؤ --- Part I The American Context: Second Half of Twentieth Century --- p.5
Chapter ´ؤ --- Part II Experimentalism --- p.9
Chapter Chapter 2 --- Biographical Contexts
Chapter ´ؤ --- Biography - A Transethnic Overview --- p.15
Chapter ´ؤ --- Harrison and Contemporary Composers: Relationship and Influences --- p.28
Chapter Chapter 3 --- Composing Otherness
Chapter ´ؤ --- Part I Concerto in Slendro: An Anticipation of Asia --- p.38
Chapter ´ؤ --- Part II Transethnicism in the Mature Period -- Varied Trio --- p.53
Conclusion --- p.76
Bibliography --- p.80
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Hill, Marian Joyce. "A signal restored : tracing the war theme in the fiction of Vladimir Tendryakov." Phd thesis, 2003. http://hdl.handle.net/1885/151765.
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Zavala, Oswaldo. "Literature to infinity: a Borgesian genealogy of contemporary Mexican narrative." Thesis, 2006. http://hdl.handle.net/2152/3012.
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